Wolfgang Amadeus Mozart (1756–1791) was a prolific and influential composer of the Classical era. Born in Salzburg, he showed prodigious ability from childhood, composing over 800 works across many genres, including symphonies, operas, chamber music, and choral pieces. His music is celebrated for its melodic beauty, formal elegance, and emotional depth. Mozart's career spanned the courts and concert halls of Europe, and despite financial struggles, his output remains central to the Western classical repertoire.
1 Life
1.1 Early childhood (1756–1762)
1.1.1 Family background and musical training
Wolfgang Amadeus Mozart was born on 27 January 1756 in Salzburg, then part of the Holy Roman Empire. His father, Leopold Mozart, was a respected composer, violinist, and deputy Kapellmeister at the court of the Prince-Archbishop of Salzburg. His mother, Anna Maria Pertl, came from a middle-class family. Leopold recognized Wolfgang’s extraordinary musical talent early and gave him intensive training in keyboard and violin, while also instructing his elder sister, Maria Anna (Nannerl). By age four, Wolfgang could play minutes on the clavier; by five, he had begun composing small pieces.
1.1.2 Grand Tour of Europe
From 1762 onward, Leopold showcased his children’s talents across Europe. The “Grand Tour” included visits to Munich, Vienna, and later extended travels to Paris, London, and the Netherlands. In these cities, young Wolfgang performed for royalty and nobility, dazzling audiences with his keyboard improvisations and sight-reading. In London, he met Johann Christian Bach, whose galant style influenced his early works. The tour established Mozart’s reputation as a child prodigy and exposed him to a wide range of musical styles.
1.2 Salzburg years (1763–1781)
1.2.1 Appointment as court musician
After returning to Salzburg, Mozart was appointed as Konzertmeister in the court orchestra in 1769, though he was often allowed leaves for travel. The position required him to compose music for court events and instruct musicians. However, the Archbishop’s control over his duties and the limited opportunities in Salzburg grew increasingly frustrating for the ambitious composer.
1.2.2 Travels to Italy
Between 1769 and 1773, Mozart made three journeys to Italy with his father. He studied Italian musical styles, met composers such as Padre Martini, and was commissioned to write operas. In Milan, his opera *Mitridate, re di Ponto* (1770) was a success. The Pope awarded him the Order of the Golden Spur. These trips honed his skill in Italian opera and broadened his musical vocabulary.
1.2.3 Conflict with the Archbishop
In the late 1770s, tensions between Mozart and the new Archbishop, Hieronymus Colloredo, intensified. Colloredo expected strict obedience and limited Mozart’s concert activities. In 1781, after a heated dispute in Vienna, Mozart resigned (or was dismissed) from his court position. This break marked a turning point, as he chose to pursue a freelance career in Vienna.
1.3 Vienna period (1781–1791)
1.3.1 Marriage and family
In 1782, Mozart married Constanze Weber, a singer from Mannheim, against his father’s wishes. The couple had six children, but only two survived infancy: Karl Thomas and Franz Xaver Wolfgang. Despite personal joys, the marriage added financial strains.
1.3.2 Rise as a freelance composer
In Vienna, Mozart built a successful career as a freelance composer and performer. He gave subscription concerts, taught pupils, and published his compositions. His operas *Die Entführung aus dem Serail* (1782) and *Le nozze di Figaro* (1786) were well received, and he collaborated with librettist Lorenzo Da Ponte on a series of masterpieces. He also produced many of his finest piano concertos, symphonies, and chamber works during this period.
1.3.3 Financial difficulties and final year
Despite his popularity, Mozart faced chronic financial problems due to lavish living, high expenses, and inconsistent income. By 1790, his health began to decline. In 1791, he was commissioned to write the opera *Die Zauberflöte* and a Requiem (anonymously commissioned by Count Franz von Walsegg). Mozart died on 5 December 1791 in Vienna, aged 35, leaving the Requiem unfinished. The cause of death remains uncertain, with possibilities including rheumatic fever or poisoning (though the latter is unsubstantiated).
2 Works
2.1 Symphonies
2.1.1 Early symphonies
Mozart composed his first symphonies at age eight under his father’s guidance, modeled on the Italian overture and works by contemporaries. Notable early examples include Symphony No. 1 in E-flat major (K. 16) and the “Odense” Symphony (K. 16a). These works show youthful energy but adhere to conventional Classical forms.
2.1.2 Mature symphonies (e.g., No. 40, No. 41 “Jupiter”)
Mozart’s late symphonies, written in the 1780s, are cornerstones of the orchestral repertoire. Symphony No. 40 in G minor (K. 550) is notable for its dark, passionate tone and forward-looking chromaticism. Symphony No. 41 in C major (K. 551), called “Jupiter,” is renowned for its complex contrapuntal finale, merging fugue and sonata form. These works display Mozart’s full mastery of orchestration, thematic development, and structural balance.
2.2 Operas
2.2.1 Italian operas (e.g., *Le nozze di Figaro*, *Don Giovanni*)
Mozart’s Italian-language operas, mainly with libretti by Da Ponte, fuse drama and music with psychological depth. *Le nozze di Figaro* (1786) uses ensemble writing to advance plot and character relationships. *Don Giovanni* (1787) blends comedy and the supernatural, featuring a majestic overture and the famous “Catalogue Aria.” *Così fan tutte* (1790) explores romantic infidelity with ironic elegance. These works remain staples of the operatic canon.
2.2.2 German Singspiel (*Die Zauberflöte*)
*Die Zauberflöte* (1791) is a German *Singspiel* incorporating spoken dialogue, folk-like melodies, and Masonic symbolism. Its accessible tunes (e.g., the Queen of the Night’s aria) and fairy-tale plot have made it one of Mozart’s most beloved operas. The work showcases his ability to blend popular entertainment with serious artistic ambition.
2.3 Chamber music
2.3.1 String quartets and quintets
Mozart’s contributions to string chamber music are profound. His six “Haydn” Quartets (K. 387, 421, 428, 458, 464, 465), dedicated to Joseph Haydn, demonstrate a deep engagement with Haydn’s quartet style while adding unique lyricism and dramatic contrasts. String quintets, such as the G minor Quintet (K. 516), feature two violas and achieve a rich, dark texture.
2.3.2 Sonatas for piano and violin
Mozart composed over 30 sonatas for violin and piano, evolving from accompanimental roles for the violin to more equal dialogue. Works like the Sonata in E minor (K. 304) and the “Mannheim” sonatas (K. 301–306) reveal his gift for melodic inventiveness and interplay between instruments.
2.4 Sacred music
2.4.1 Masses (e.g., Great Mass in C minor)
Mozart composed several masses for Salzburg and Vienna. The *Great Mass in C minor* (K. 427) is notable for its fugal “Credo” and soaring soprano solos, reflecting his study of Baroque polyphony and Italian vocal style. It remained incomplete and was later adapted.
2.4.2 Requiem (K. 626)
The *Requiem* in D minor (K. 626) is Mozart’s final and most famous sacred work. Commissioned anonymously, it was left unfinished at his death and completed by his student Franz Xaver Süssmayr. The work is intensely expressive, with movements such as the “Lacrimosa” conveying profound grief. Its mysterious history has fueled many legends.
3 Legacy
3.1 Influence on later composers
Mozart’s music has had an enduring impact on generations of composers. He influenced Haydn in chamber music, and his operas set new standards for dramatic integration. The Romantic era’s composers—including Beethoven, Schubert, and Tchaikovsky—admired his melodic gift and formal clarity. In the 20th century, composers like Stravinsky and Prokofiev studied his works for their structural transparency.
3.2 Reception and scholarship
During his lifetime, Mozart was widely acclaimed but not universally understood; his later music was sometimes considered too complex. In the 19th century, his reputation soared, propelled by biographies and the publishing of his complete works. Scholarly research, notably the Köchel catalogue (chronological listing of his works, first compiled in 1862), has established authoritative editions. Today, Mozart is among the most performed and recorded composers, with festivals and research centers dedicated to his life and music.
3.3 Myths and controversies
3.3.1 “Salieri feud” and *Amadeus* film
The notion that Antonio Salieri was Mozart’s bitter rival, and even poisoned him, originated in 19th-century gossip and was popularized by Pushkin’s play *Mozart and Salieri*. Peter Shaffer’s play and film *Amadeus* (1984) dramatized this feud, portraying Salieri as envious and scheming. Historical evidence shows Salieri respected Mozart’s talent, and no credible proof of poisoning exists.
3.3.2 Unfinished Requiem legend
The story that Mozart believed he was writing the Requiem for his own deathbed has become a romantic myth. In fact, the commission was from a nobleman who intended to pass the work off as his own. Although Mozart was ill while working on it, his statements about writing for his own funeral are recorded in letters but are likely dramatic. The myth was perpetuated by biographies and the *Amadeus* film.